December 22, 2008

>> For those of you not monitoring our Twitter feed last week, Philly based shoegaze quartet Relay has been reborn as Arc In Round. The re-christened act will likely make a big splash with its new material during a brief jaunt around the country in January with the fiery Scottish four Frightened Rabbit. As if that supporting slot wasn't auspicious enough, Arc In Round will also play one of the planned Swirlies reunion dates in late February (we've posted all the Arc In Round dates below). As far as the new music goes, get thee over to the band's MySpace casa forthwith and stream "2" and "Sounder." We're pleased with the former in particular, as its bending guitar chords and generally ethereal awesomeness reminds us very much of Lorelei's shuddering "Mimesis" (from the groundbreaking Spin-Art comp ...One Last Kiss). Arc In Round recorded its new tracks at Strange Weather in Brooklyn, and we're hoping there is a new EP or full-length in the offing; Relay's last two releases were issued on Bubble Core (whose own comp The First Bubble Core Records Label Sampler is also quite good, incidentally). We featured Relay and its practice space in our occasion series Show Us Yours here in Aug. 2006; we reviewed the band's Feb. 2007 show at TT The Bear's right here.

>> Nine-piece chamber pop upstarts Evening Magazine -- also out of Philadelphia -- are slated to issue a debut EP The Ride Across Lake Constance Jan. 27 on Ohso Records. The collective is helmed by former BC Camplight guitarist David Disbrow, who along with recording engineer Kevin Francis and others has created a multifaceted, widescreen and technicolor collection. The desperate tone of lead track "Apple Eye" is more reminiscent of Funeral-era Arcade Fire than most everything else that has been compared to the highly regarded Canadians in recent memory -- but it is slightly more delicate, too: the foundation is acoustic guitar and snare, but horns and burbling space synths provide surprising inflections. Evening Magazine is recording a full-length set in the same North Philadelphia shed in which the EP -- a very strong calling card, the totality of which can be streamed at the act's MySpace wigwam -- was crafted. We'll keep an eye out for release information on that.

Evening Magazine -- "Apple Eye" -- The Ride Across Lake Constance EP[right click and save as][stalk the band's MySpace to see when the EP goes on sale]

>> Rock Sellout here was the first to indicate to us that clicky clicky faves Superchunk will issue something called Sur La Bouch -- Live In Montreal on Jan. 13. The set -- the fourth volume in the band's Clambakes series -- contains a live bootleg of the band performing live on March 22 of that year, when the indie rockers were out supporting their amazing release On The Mouth. The performance was at the club Backstreet, and it was recorded by a chap named Howard Billerman, who apparently played drums on Arcade Fire's aforementioned Funeral and currently owns and engineers recordings at Hotel 2 Tango Studios in Montreal. On The Mouth was one of those records that spurred our ever-expanding interest in indie rock, so we're excited to hear a recording from this period. We saw Superchunk for the first time in the summer of '93 or '94, perhaps headlining over Velocity Girl and Sunny Day Real Estate. Or perhaps not -- sometimes our memories get all mixed up.

>> We just got turned on to the site Bandstand Busking via an email from New York dream pop duo Asobi Seksu, who recently were featured on the site here doing stripped-down bet very affecting versions of "Gliss," "Merry Christmas, I Don't Want To Fight Tonight" and "Walking On The Moon." The site currently features about a dozen other sessions from various bands recorded around the greater London area, but the ones you definitely need to look at are these three clips of Frightened Rabbit fronter Scott Hutchison doing acoustic versions of "My Backwards Walk," "Poke" and "I Feel Better" right here. Hot stuff.

December 15, 2008

It was a lot more work than we anticipated getting this list together, but fortunately we've been hammering away at it for about a month. Even so we didn't finalize our picks until Friday, which led to some extra writing, but so it goes. Along the way we deepened our relationship with and appreciation for these 10 records, which in our humble opinion represent the best that 2008 had to offer. We hope you'll find some things here that had escaped your attention heretofore, and that you derive as much enjoyment from listening to them as we do. For those who are curious, here are links to some of our prior annual lists [2007, 2006, 2005, 2002]. Thanks for reading Clicky Clicky in 2008.

1. Johnny Foreigner -- Waited Up Til It Was Light -- Best Before/Nettwerk

If you thought we were going to rave about Waited Up Til It Was Light all year and then not name it our favorite album, well, you were wrong. But if it makes you feel better, we were wrong, too. A year ago we declared that Johnny Foreigner's Arcs Across The City EP was the new gold standard in indie rock, and that choice now smacks of being obviously premature, as the band's monstrous full-length debut eclipses it on every level. It shudders with adolescent confusion and crackles with stumbling euphoria, one bottle of gin too many and guitars potted way, way up. There's feedback and in-jokes and sweat and disappointment. As we quipped in June, Waited Up Til It Was Light "is thronged with careening guitar anthems, its 13 tracks shot through with typewriter ribbon-lengths of lyrics that collectively present a contemporary mythology of the band's beloved city." The set will have spawned four singles by the time the double a-sided "DJs Get Doubts" b/w "Lea Room" streets Jan. 12 in the UK. Johnny Foreigner reportedly begin recording a follow-up, and we hope that at this time next year Alexei, Kelly and Junior Foreigner have us once again amending our assessment of what the gold standard is in indie rock. [review][listen]

2. A Weather -- Cove -- Team Love

In a perfect world, A Weather's understated yet confident debut would launch a thousand indie rock vessels, each one charting a course to illuminate new, obscure and quiet frontiers of a slowcore revival. But as this record seems to have been the most slept-on of all our 2008 picks, this is quite unlikely. One of the revelations of Cove -- which we named the first big surprise of 2008 back in February -- is that the set is filled with love songs, but not necessarily heartache. Yet there is still remarkable tension and mystery that courses through the nine tracks. Quoting again from our review, "[t]he band's beautiful full-length debut has a persistent but slippery allure. Populated almost entirely with murmured bedroom ballads driven by brushed drums, guitar and electric piano, the set somehow succeeds in not repeating the same tricks over and over again." [review][listen]

3. Frightened Rabbit -- The Midnight Organ Fight -- Fat Cat

Last spring we spoke briefly -- albeit loudly, above the rock club din -- with Frightened Rabbit fronter Scott Hutchison about the growing distance between the songs on this collection and the events they reflect. Certain of the songs on The Midnight Organ Fight were about five years old at the time and reflected events growing increasingly smaller in Frightened Rabbit's rearview. Which makes the tunes' emotional impact -- particularly when performed during one of the quartet's usually incendiary live sets -- all the more impressive. But the live spectacle aside, The Midnight Organ Fight is still a remarkable collection of songs, as lush and atmospheric as Sing The Greys was stark and in-your-face. We pegged the band's "Extrasupervery" as indicative of the potential for Disintegration-esque genius, so we are eager to hear what comes next from the lads. [review][listen]

4. The Notwist -- The Devil, You + Me -- Domino

Germany's The Notwist had been absent so long prior to the release of The Devil, You + Me -- as we remarked here in our review of the wonderful DVD "The Notwist On|Off The Record" two years ago -- that we were afraid the indie rock world might not take them back, and even more afraid that the band might not want to come back. Finally The Notwist broke its (near) silence with the promo track "Good Lies." The song raised hopes for a stellar album and the band delivered with a set as subtle and beautifully orchestrated as Neon Golden. And while the material is exceptional, it is hard to ignore that The Notwist also gave a wholly stunning performance when it appeared at The Roxy in Boston in October. "The band was alternately mesmerizing and astonishing, depending on whether it was locking into a heavy, digitally augmented groove or blasting through a crescendo of guitars," to quote our review. Compared to Neon Golden, The Devil, You + Me is a more reserved affair, reflecting perhaps the changes of life (fatherhood and the like) that the members of The Notwist have experienced in recent years. Even so, their songwriting chops and imaginations have not subsided in the least, and we're hopeful that it won't be another five years before its next record. [live review][listen]

5. Destroyer -- Trouble In Dreams -- Merge

We recall reading comments from Destroyer mastermind Dan Bejar sometime during the year in which he states that Trouble In Dreams was a difficult, meaning we think inscrutable, record for fans, particularly compared to the prior set, Destroyer's Rubies. For the record, we think both collections are stellar, and we question just how "difficult" the music is. Musically, things are fairly straightforward on every Destroyer record we've heard (which is damn near all of them -- Damon Che Mr. Bejar is not), so we have to presume Bejar is referring to his lyrics. These are often impressionistic, deeply layered, and, of course, when coming out of Bejar's mouth are often the true highlight of Destroyer's recordings. Trouble In Dreams is no exception, and with some of the year's most winning melodies, the record easily made our list. [listen]

6. Julie Ocean -- Long Gone And Nearly There -- Transit Of Venus

Long Gone And Nearly There now seems a prescient album title for this upbeat collection of irresistable indie pop confections from an already broken-up quartet fronted by the cable newser best known for having himself tasered on television. How could it not be among our favorite records of the year? The collection captures 10 tunes touting broad, bright melodies delivered with an irresistible guitar-jangle and fizz. From a historical standpoint, Long Gone And Nearly There is a distillation of several strands of the D.C. underground, the apparent mean value of Velocity Girl, Glo-Worm and Swiz. And while the band's demise seems to neatly underscore the ephemeral nature of perfect pop, the band's borrowing from '60s AM sounds limns Long Gone And Nearly There with a classic pop sense that makes it stand out among contemporary indie releases. [review][listen]

Julie Ocean -- "Here Comes Danny" -- Long Gone And Nearly There[right click and save as][buy Long Gone And Nearly There from Transit Of Venus here]

7. The War On Drugs -- Wagonwheel Blues -- Secretly Canadian

A beguiling set that offers jaunty singles candidates ("Arms Like Boulders," "Taking The Farm"), lo-fi balladry ("Barrel Of Batteries") and kaleidoscopic drone ("Show Me The Coast") is a special record indeed. The more we listen to it, the more we are convinced that band fronter Adam Granduciel is at the cusp of the sort of acclaim that follows Destroyer's Dan Bejar. There is a frank poeticism in his nasal proclamations buried within stoned repetitions that accumulate like sediment into enticing songs that succeed wonderfully at going nowhere. Wagonwheel Blues will make converts of us all; this video of a live set drives home the greatness of the band. [listen]

This was a late-year surprise. Our old housemate Tony B championed the Gothenburg, Sweden-based quintet and its boxy recordings early on, which got us turned on to the single for "Make Out Fall Out Make Up." And while we've listened to the band's 2005 set 9 Times That Same Song maybe a dozen times, we were taken by surprise by how much more A Hundred Things Keep Me Up At Night resonated with us. The set -- shrouded like its precursor in almost obfuscating amounts of slap-back reverb -- contains a perfect, grooving blend of dancey rock that sounds like a bizarre marriage of The Cramps and Haircut 100 fronted by a roughly rendered facsimile of Cyndi Lauper. "Give It Back" is a relentless torrent of hooks and energy, and the rest of the set follows suit. [listen]

9. Superman Revenge Squad -- This Is My Own Personal Way Of Dealing With It All -- My Best Unbeaten Brother

Ben Parker, sole proprietor of the acoustic enterprise Superman Revenge Squad, was the subject of the only feature interview we did in 2008, a reflection of the esteem in which we hold this very gifted songwriter based in Croydon, England. From a lyrical standpoint no one can touch him, not only in terms of sheer volume (the man is loquacious in song) but also in his ability to express discontent in colorful ways (we love the line "the sun's too hot and there's nothing on the telly" from the digital single "Idiot Food"). His music -- whether it is harrowingly urgent, morose and emotional or tongue-in-cheek and geeky -- transmits as deeply personal, despite the fact that often when Parker sounds like he is baring his soul he is actually making an obscure pop culture reference. This Is My Own Way Of Dealing With It All is filled with escape fantasies, dark resignation and still darker humor. And it is brilliant. We're posting the lead track below. [interview][listen]

Superman Revenge Squad -- "Idiot Food" -- This Is My Own Personal Way Of Dealing With It All[right click and save as][buy the record from Superman Revenge Squad right here]

10. The Swimmers -- Fighting Trees -- Mad Dragon

We suppose it is a toss-up as to whether this was more slept-on than the A Weather record, although the label Team Love has more brand recognition than the Drexel University-backed Mad Dragon imprint. Philadelphia's Swimmers had been treading water for quite a while as we waited for its debut to finally see release, but it finally delivered in a big way. Echoing first-wave Wilco and scene precursors The Bigger Lovers, Fighting Trees' rootsy, upbeat attack and hooks aplenty made this a constant go-to record for us this year. While "Pocket Full Of Gold" made our list of top songs of the year last week, the entire record is filled with eager winners, not the least of which is the piano-driven homage to Lancaster, PA "Heaven." Daytrotter recently posted a session featuring a few tracks from Fighting Trees from which we are posting a fantastic take on "St. Cecilia" below. [review][listen]

December 11, 2008

While we continue drafting our year-end list of favorite albums, you watch Rod Stewart. We remember watching this clip as a wee lad and really not getting any of the sexy stuff. But we sure thought it was cool that one woman had a piano keyboard painted on her leg, and then that the piano player plays it. Ah, youth. Everyone on the Internerds seems very excited about the Faces reunion, but we gotta say, our fandom of Mr. Stewart begins and ends with his record Tonight, I'm Yours. We'll be back Monday with our top 10 records of 2008.

December 10, 2008

>> [UPDATED]Big Science, the Chicago-based indie rock quartet featuring three guys named Jason (two of whom were formerly in San Diego-based post-hardcore act The North Atlantic), will release its immaculate debut EP The Coast Of Nowhere Friday. We've been anticipating the collection since March, when the band first popped onto our radar with a handful of very impressive demos. The EP is already streaming at Big Science's MySpace dojo here, and we recommend checking in and listening you can download the whole thing for free at the band's web site here. The fully realized versions of "My Career As A Ghost" and "DNC" are even more wonderful than the demos. On the former track the sound is clearer, and there is a new countermelody in the chorus driven by clean, reverby guitar. The new "DNC" again is more potent than its precursor, with a rocked-up verse setting off the airy, surfy chorus. New (to us) tracks including the title track, the melodic, cascading strummer "Sun Sets Electric" and the stunning ballad "World Class AC" are equally as strong. We think upon listening you'll agree that Big Science is doing something that is fairly singular. Previously we cited Talking Heads and Big Country as salient referents, but now we're not so sure. There's High Life guitars and so much reverb and we don't even know what to call it, but it is great. The Coast Of Nowhere EP will be available for sale at a CD release show this Friday at Chicago's The Hideout.

>> Manchester, England-based indie pop savants The Answering Machine continue to let slip various bits of information about its debut full length Another City, Another Sorry, but the bigger news is how amazing the new tracks sound. The set is now slated for release in Summer 2009, and it will be preceded by a single in the spring. Freshly mastered tracks "​Obviously Cold"​,​"Cliffer" and "Oh, Christina"​ are already streaming at the band's MySpace hacienda right here. And we are immensely impressed, as the results are far better than we had even hoped for from the young foursome. "Obviously Cold" touts a very lyrical, Peter Hook-ish bass melody (and tone), the vocals are assured and Martin and Patrick's guitars crunch with a force that suggests the band has successfully grown beyond its Strokes worshipping into a dynamite rock act. Ditto for the rocker "Cliffer," which is perhaps the densest track the band has committed to tape. Readers will recall that we reported here in November that The Answering Machine has signed to the small indie Heist Or Hit Records. 2009 will be a huge year for the band, and we hope that U.S. tour dates are in the offing. To date The Answering Machine has issued three singles, "Lightbulbs," "Silent Hotels," and "Oklahoma." Let's have a listen to "Silent Hotels," shall we?

>> London-based quintet Video Nasties' new Albatross EP has made its way to EMusic, and the act warns in a MySpace bulletin today that "the [forthcoming] album's coming sooner than you think." In addition to the slamming and slightly twisted title track, which we first wrote about here in October, Albatross contains "Hearts And Bones," "Break" and "Man." You can stream "Albatross" and "Hearts And Bones" at Video Nasties' MySpace wigwam right here. The latter track is an arresting ballad that hints more at Chamelons UK than at our old lazy critical shorthand for Video Nasties, The Yachts. Video Nasties have clearly metamorphosed into something new, and while we will always love its early synth pop gems, this new territory is truly exciting. The band launches a two-week tour of the UK Jan. 14.

December 9, 2008

>> Welsh twee-core wunderkinds Los Campesinos! are not the only act to issue two records in 2008. The increasingly curious Seb Roberts has returned with a second release on SVC Records for the year, the EP Yeah, Well, Coué's Dead. Mr. Roberts, a Canadian-born and one-time Baltimore-based ex-pat who has spent many of his recent years in Germany and Japan, released his SVC debut Exit Strategyin March (he had previously previously issued another nine records elsewhere under various names). While the full-lengthed Exit Strategy seemed to draw from mid-period Ministry and Stewart Copeland's Klark Kent project, the new collection is a more composed amalgamation of hypnotic, Fripp-esque guitar textures and the bending chimpgaze swirl of the finer Swirlies recordings. Some of the mechanistic tone of Exit Strategy persists in the new collection (which features a remixed version of Exit Strategy's "US Out Of NY"), as the repeated guitar figure that draws "Roll Deep" to a close is somewhat robotic (in contrast to Robert Fripp's more flowing loops). "Roll Deep" is more intricately constructed than a first listen will reveal: lazery synths streak low in the mix, as do spectral vocal tracks. And where's the chorus? Roberts has cobbled together this fairly gripping video for the track that provocatively pairs footage of baggy scene legends, fireworks and riot police. More overt in its Fripp referencing is Roberts' gorgeous odd-metered instrumental "False Positive." Yeah, Well, Coué's Dead was issued digitally Dec. 2, and you can purchase it directly from SVC Records here. The EP will also be available through the usual digital storefronts imminently, if it is not already.

>> Attentive readers will recall we noted last month the release of reconstituted California quintet Primitive Painters' new full-length Say It 'Til You Mean It. In doing so we reported that the album references the more guitar-centric work of alt. luminaries New Order. No song more pointedly refers to the legacy of the now apparently defunct-for-good Mancunians than Primitive Painters' album closer "Throw Your Heart To The Wind," which quotes the chorus of New Order's chillingly good "All The Way," the second track from the surprise 1989 triumph Technique (here's a live clip of New Order performing the track at Reading in '89). On the heels of the band's well-received record release show in California over the weekend the band has given us the OK to post "Throw Your Heart To The Wind" below. There's a lot to like: great drumming, crystalline layers of guitar and Dennis Crupi's lyrical exhortations to greater things.

Primitive Painters -- "Throw Your Heart To The Wind" -- Say It 'Til You Mean It[right click and save as][buy the record from the band right here]

>> It is worth mentioning for the record that, although the septet will not be coming to New England, The War On Drugs neverthless launch a tour this evening in Pontiac, MI. Only yesterday we named the Philly-based act's gloriously droning "Show Me The Coast" one of the ten best songs of the year. We expect our bestowing such an honor will result in mob scenes at these upcoming dates, but even so you should brave the crowds to see The War On Drugs, whose Wagonwheel Blues is one of the more under-appreciated gems of 2008 (it will appear on our top albums list next week).

December 8, 2008

We humbly submit our list of 10 favorite tracks of the year. The typical caveats apply, mainly that an individual band could only chart once, no matter how awesome it may be. Meaning, for example, that despite three Johnny Foreigner songs being among our 10 most-listened-to tracks of 2008, only one is able to make the cut below. Of course, the tracks in question had to be released this year. And there's really not much else to it. We think these songs are the bee's knees, and we look forward to hearing much more from the bands who recorded them in the future. Our list of top albums of the year largely echoes this list of songs, but there are some notable differences, so be certain check in next Monday to read that one. Thanks for the rock.

1. Johnny Foreigner -- "Absolute Balance" -- Waited Up Til It Was LightStream it at Last.FM right here.

Bifurcated from the demo "Balance Comma Girl," expanded, stuffed with skyrocketing dynamics and draped with vapor trails of guitar feedback and delay, "Absolute Balance" puts the final (well, almost) exclamation point on Johnny Foreigner's stunning debut Waited Up 'Til It Was Light. The tail end reintroduces a familiar canned beat (it also drives the single "Salt, Peppa and Spinderella") and makes a miraculous ascent into a crescendo in which fronter Alexei Berrow unhinges his soul and lets fly a spine-tingling, entirely inscrutable 20-second rant. Watch the band perform "Absolute Balance" at the tail end of "Yr All Just Jealous Of My Von Dutch Hat" from T In The Park this past July right here at the YouTubes. The band will begin recording its second full length later this month, and intends to tour North America in 2009. We reviewed Waited Up Til It Was Lighthere in June.

The most intimate record of the year was released by the somewhat shadowy -- or at least reserved, perhaps press-shy -- group A Weather out of Portland, who somehow took the narcotic and stoney vibe of slowcore and imbued it with hopeful romance and mystery. Spurred by careful, boxy (and apparently no-footed) drumming and spare guitar, "Shirley Road Shirley" soars into its almost-chorus, the questionable vow "I won't try anything, I swear you won't even know I'm there." We reviewed A Weather's Coveright here in February. Thanks to the band for the permission to post this track.

Pepped up and ragged, shouted and layered, the lead track from the Cardiff, Wales septet's first release of 2008 is rife with sly lyrics and enthusiasm to spare. We actually think this song's mix flattens the dynamics a little too much, perhaps in order to make all the instruments audible. The following track, "Broken Heartbeats Sound Like Breakbeats," is much more explosive -- although it hurts our head to figure out why. But it is the dueling vocals and gang cheers that make "Death To Los Campesinos!" the gang's best track of the year. The fact that its video features a homicidal unicorn is just so much delicious icing on the technicolor cake.

4. The Notwist -- "Gloomy Planets" -- The Devil, You + MeWatch the amazing video with Andromeda Express Orchestra at YouTube right here.

Fuzzier vocals and acoustic guitar would seem to herald a new, ever more reserved direction for the laconic German quartet The Notwist, best known for its 2002 electropop milestone Neon Golden. But halfway through "Gloomy Planets," as the song scales its sole chorus, looping tones overtake the mix, overlay the piano and guitars and build a crescendo that waxes on for almost two full, thrilling minutes. And suddenly, it is like the band's recent history has caught up with it. The Notwist's Oct. show at Boston's Roxy nightclub was among our favorites of the year. Hopefully it will not be another six years before The Notwist releases a new record.

5. Frightened Rabbit -- "Floating In The Forth" -- The Midnight Organ FightStream it at Last.FM right here.

We had already considered Frightened Rabbit's Scott Hutchison a master of crafting the devastating lyric prior to the release of The Midnight Organ Fight, but when we reached the tail-end of the record and heard this track buzz up into its bottomlessly sorrowful first line our estimation was affirmed all over again. "So you just stepped out of the front of my house and I'll never see you again." A lot of bloggers have expended a lot of keystrokes talking about the emotional rawness of Frightened Rabbit's overdriven folk-rock, but this track is the only one for us that is almost unlistenable. While The Midnight Organ Fight's relatively glossy production is somewhat at odds with Frightened Rabbit's music -- particularly its high-octane live sets -- every song on the set is dynamite. "Floating In The Forth," with its lush sonic palette, harmonies and dreadful sense of finality, was the biggest surprise of the collection. The band returns to Boston's Great Scott next month. We reviewed The Midnight Organ Fighthere in March.

When you stop to think about it, the chorus to this track is ridiculous. But elsewhere band leader Dan Bejar's relatively simple yet typically impressionist lyrics are as evocative as ever. Mr. Bejar's singing is perhaps the most singular of this decade, as it is as convincing when coyly elongating and wearily over-enunciating syllables as it is when the narrator turns against his narrative, and occasionally the listener. Miraculously, "Foam Hands" does a whole lot with fairly little, including boring itself hopelessly deep into your brain, all the while providing Bejar ample opportunity to bend expectations just slightly into a gothic tale of estrangement.

8. The War On Drugs -- "Show Me The Coast" -- Wagonwheel BluesThis track isn't available to hear on the Internet for free.Stream a short sample at EMusic here.

Ten minutes of kaleidoscopic, blissful drone could have easily felt like five minutes too many, but something about the arpeggiated swells and Petty-esque declamations spiraling out over an F# seemingly into forever is entrancing. It also inspires the cartoonish feeling that somehow, somewhere this song is always being performed, like the black-and-white footage of an oncoming steam train hidden behind the door in a Bugs Bunny short. The War On Drugs were the best of the many great things that broke out of Philadelphia this year.

The most rocking track from the Brooklyn quintet's 2008 release, which was the only CD we kept in the car in late July. Big guitars. Harmonics. So much possibility. Nothing can go wrong. We have to believe that the lyric concerning water towers references the same found in the alternate versions of The Replacements' "Can't Hardly Wait" packaged with the reissues of Tim and Pleased To Meet Me this year.

10. The Swimmers -- "Pocket Full Of Gold" -- Fighting TreesDownload "Pocket Full Of Gold"Recorded live at Chicago's Hideout, March 22, 2008[right click and save as]

While "Heaven" continues to be the "hit" of the long-awaited debut from this Philadelphia act, at least in terms of the attention bestowed by the Internets (the band recently released this video for the track, as well), "Pocket Full Of Gold" is the most irresistable of the ten tunes on the band's Fighting Trees. Tweedy-esque vocal, the track would have been a good fit on the first Wilco record, before the Chicago act entered its baroque period. We reviewed Fighting Treeshere in March.

December 5, 2008

>> We join the chorusofoutlets expressing disappointment at the breakup of Brooklyn-based nu-gaze superlatives Dirty On Purpose, who disclosed their demise via presser this afternoon. The quartet, which formed in 2002, will play a final show on New Years Eve at Manhattan's Mercury Lounge, where it will open for the purportedly "loudest band in New York," noiseniks-in-arms A Place To Bury Strangers. According to the statement, the band returned from tour a month ago, discussed making another record, and ultimately decided that was something it didn't want to do. Dirty On Purpose is survived by its members' various extra-band endeavors, which include Neckbeard Telecaster, Coin Under Tongue, Joe And The Flying Spoons, Purse Snatchers and Black Acid. All of the members will continue to live in New York, and the band quipped that it reserves its right to reform. Which would make a bunch of us pretty happy. We reviewed Dirty On Purpose's Oct. 2007 Middle East show right here. We also reviewed its two full-lengths Sleep Late For A Better Tomorrow and Hallelujah Sirenshere and here respectively. We leave you with the song that we think first turned us on to the band, the early track "Practice For Having Sex." Thanks for all the indie rock, guys.

>> Selkirk, Scotland-based indie rockers Frightened Rabbit will issue an updated version of its 2007 holiday single "It's Christmas So We'll Stop" Dec. 16, exactly 364 days after releasing the original version. The track has apparently been "reconstructed" by Oregon-based label mate David Karsten Daniels, who has adorned the spare ballad with a choir, horns, Fender Rhodes piano and strings. We wrote about version 1.0 of the single last November here. The new version has been dressed up with better cover art, which you can ogle here, and the b-side this go-round is not music but an etching by none other than band fronter Scott Hutchison. And there is even more FR news -- there is a brand new video for "I Feel Better," right here. Frightened Rabbit recently completed a European jaunt opening for Death Cab For Cutie (if you have read the band's recent tour diary for DIS regarding same here, you are missing out on some comedy gold). As we've alluded to previously, Frightened Rabbit return to the U.S. for a short stack of dates next month, which you can inspect below.

December 3, 2008

>> [PHOTO CREDIT: Pavla Kopecna] Word from The Pains Of Being Pure At Heart is that the band's next single will apparently be for the song "Young Adult Friction," track three on the band's brilliant forthcoming self-titled debut full-length. The New York-based quartet plan to film a video for the song Dec. 15 in Cambridge, England during its current tour of the UK and Ireland, which launched last night in London. In fact, The Pains Of Being Pure At Heart are looking for extras to appear in the clip, so if you want in on that, friend them up on the MySpace and check out their most recent bulletin (there is a casting on Dec. 7 in London, apparently). The video for the act's most recent single "Everything With You" has been burning up the Internerds of late, and you can watch it right here. Frankly, not a lot happens in the clip, but the song, also on the pending full-length, is brilliant. No word yet on when the single for "Young Adult Friction" will be released, but we expect it will precede by a brief period the planned Feb. 3 issuance of The Pains Of Being Pure At Heart. Although that would be a very short time frame, so perhaps the single will arrive after the record and in time to build hype for a full spring tour (the band just announced a handful of February dates). Slumberland put out the single for "Everything With You," and because the label is awesome, you can download the tune for nothing. Have at it below. We previously wrote about The Pains Of Being Pure At Heart here in October; the band plays Cambridge, Mass.'s Middle East Downstair Feb. 15 with the very, very good act Pants Yell! We'll be there.

The Pains Of Being Pure At Heart -- "Everything With You" -- "Everything With You" b/w "The Pains Of Being Pure At Heart"[right click and save as][buy "Everything With You" on blue vinyl from Slumberland here]

>> Dananananaykroyd's debut full-length is finished, and the band -- widely considered the best live act in the UK today -- has titled the collection Hey Everyone. Best Before Records will issue the set next year; a single, "Black Wax" arrives in March, which makes us think Hey Everyone will likely hit racks by April, if not in time for SXSW. Hey Everyone touts 12 tracks, including re-recorded versions of "1993," "Infinity Milk," "Some Dresses" and "The Greater Than Symbol And The Hash." These four three toe-tappers were all featured on the Glaswegian sextet's Sissy Hits EP, which Best Before released earlier this year. Dananananayroyd has finally posted the second part of its video diary filmed during the recording of Hey Everyone with The Machine in New Jersey earlier this fall, and it is really funny -- watch it here. The sextet has two live engagements booked for the remainder of year: one in Leeds Saturday and the second on New Year's Eve in Glasgow.

December 2, 2008

We still have no idea what the complete opening line to this track is ("I meant to take a cue from Bluto?" Like, from "Popeye?"). Even so, there are a few things that make this song, by the then-Philly-based quartet's original line-up, remarkable. Perhaps least apparent among these is the fact that "Crosswords," the lead track from Haywood's Great Cats Give Chase cassette issued in late 1996 or early '97, was recorded to a four-track tape machine in the attic of an antiques store. For all we know they were recorded off one by one like this. That the song -- and the three other tracks captured during the same sessions -- powerfully succeeds, and in places even explodes despite the humble production, is a testament to the skills of the quartet. The more obvious charms of "Crosswords" are the hooks and the immensely satisfying crunch of the choruses. Also remarkable is the vivid picture of a relationship coming apart that band fronter Ted Pauly paints with his at-times seemingly confessional lyrics ("...they say I'm looking for my mother...").

Great Cats Give Chase was our sole companion during a few frigid months of pre-dawn drives to an existentially harrowing temporary job we held at the onset of 1997, and not surprisingly its lead track ranks high in our list of most-listened-to songs (it'd probably rank higher if we could include all the times we listened on those early mornings). The cassette's four songs were later issued on Haywood's full-length debut, the collection of early recordings dubbed Model For A Monument. We previously wrote about "Crosswords" here in May 2004 and here a year ago. The song is No. 27 on the Clicky Clicky 200, and you can read all of our prior Clicky Clicky 200 entries right here.

December 1, 2008

>> [PHOTO CREDIT: Liam Henry] Leeds-based power trio Dinosaur Pile-Up's debut single "My Rock N' Roll" will be released Dec. 8 in a limited edition of 500 by fledgling label Friends Vs. Records. Whoever wrote the promo blurb at Rough Trade is brilliantly funny -- observe: "[Dinosaur Pile-Up's] songs are proving very popular among people who like to go out to watch rock bands." The flipside of the planned single is the original demo for the percolating gem "Love Is A Boat And We're Sinking," which was floating around the Internerdzzz earlier this fall and reminds us very much of the incredibly under-rated and sadly defunct Michigan act Rain Is Wet. Anyhow, someone please tell us when a band forms and takes the name Dinosaur Pile-Up Jr., because the very idea makes us extremely happy. Pre-order "My Rock N' Roll" from Rough Trade right here. Stream it at the band's MySpace dojo right here, where you can also inspect the band's various live commitments through the end of January.

>> What with our holiday pause we're a day late and a dollar short on the Matt Pond PA news, which of course is that the revered, Philly-based chamber pop outfit has just release a free ep awesomely titled Freeep, which was apparently recorded in a cabin in Bearsville, NY, which surprisingly actually exists. The EP actually has a much longer title, according to the MPPA web site, which is The Dawn before the Dark Leaves or Water off a Black Dog’s Back or Amazing Life or Butterfly Mornings and Wildflower Afternoons or May we never go go mental, may we always stay stay gentle or The Fear of not Being Afraid or Erica Harris and her Ubiquitous Threads or The Warmth Within the Warren or Dreaming of Sleeping or Saying It to Keep It From Happening or This is not the Dark Leaves or Living for Liv Ullman or The Odds of a Sunrise or Whispering Pines or You’ll be the Rhythm and I’ll be the Beat and I’ll be the Rhythm and You’ll be the Beat or The Grass Harp or Goodbye Barcelona or Why is my copy of the Moviegoer Floating in a Puddle Beside the Car. You can download the whole shebang right here, and we're recommending that you do. Opener "Hearts And Minds" is uptempo and airy and unsurprisingly soars in places. Three beautiful numbered tracks, "#1," "#3" and "#5" also standout; "#3" in particular glistens with soft intensity, and the trio of songs remind us very much of J Mascis' untitled tracks from the Gas, Food, Lodging soundtrack. Matt Pond PA's numbered numbers are very fetching, so we're posting them below.

>> Earlier this month we expended a couple minutes confirming our belief that Coco B's self-titled debut was in fact released in 2007, because the band's superlative rocker "Give Up The Money (1982)" was in the running to be one of our top songs of the year for 2008 otherwise. Unfortunately, its 2007 release disqualifies it, but that doesn't mean the song is any less great. It also seems to have a long shelf life (not unlike Say Hi To Your Mom's "Let's Talk About Spaceships," now that we think about it). The latest twinkle of attention for the track comes courtesy of lifestyle brand and apparel maker Nike (hey Nike, how did that whole sweatshop thing shake out? We'll have to Google that). Nike has used the track in a video of some guys riding BMX bikes like it was, well, "like it was 1982." You can watch the video here -- gotta say, it's pretty bad-ass.

November 25, 2008

Between the big Pat Leonard tribute show Sunday night, a dead hot water heater yesterday afternoon, rock team practice last night and a five-alarm fire around the corner at 4AM this morning, we're so far behind this week that we think we'll just bid everyone adieu until Monday. Everybody have a happy one and a safe one, and hell, eat a bird if that is your proclivity: you're good people and you've earned it. As an aside, we'll offer we thought we were all anti-establishment because we make snarky comments about this week's holiday, and then we talked Thanksgiving plans yesterday with our middle-aged plumber, who said she usually goes down to Plymouth to mark the occasion with Native Americans. She might have even used the word mourn. Which, relatively speaking, makes us about as hardcore as Lisa Simpson. Oh well. See you all next week.

November 24, 2008

We are crestfallen to find that one of our strongest memories of a grey April day in Budapest, 1997, goes un-documented in a journal we maintained during three months spent loitering in Western and Central Europe. Not long after arriving in that great city we fell in with a scruffy bunch and spent several immensely fun and endless night-days in dark bunker-esque basement bars, mirrored, baroque coffee shops and monolithic, Soviet-styled opera houses. That there is a hole in our written account is somewhat understandable, as the entries for those days offer a litany of consumption: giant $.16 beers, cheap smokes, and eating and sleeping very little. We had made the hard decision before leaving on the trip not to take any music, as we didn't want a set of headphones to get between us and the experience. One of our favorite fellow travelers in Budapest was named James, and he bestowed an incredible, Natalie Portman-esque moment upon us when he reported that not only did he have a Discman with him, but he also had the new Pavement record, Brighten The Corners, which we did not even know had come out. We sat on a top bunk in our dank grey-green dorm room and listened to the album end-to-end, and it blew our mind as perhaps no record had done since leaving university the prior May.

From the ping-ponging opening of "Stereo" through the icy dread of the final moments of the funereal "Fin," we were transported. Some context is important here: our initial assessment of Pavement's prior set Wowee Zowee was not entirely favorable, as at the time -- a time largely spent worshipping Seam, Superchunk and Crooked Rain, Crooked Rain -- we found Pavement's third full-length to be (we'll borrow a comment from a professor's assessment of a contemporanous paper authored by a former housemate here) "willfully obfuscating." Which is to say we found it to be self-consciously jammy and difficult just for difficulty's sake. We've since come to grips with the genius of Wowee Zowee. But the embrace of the relatively straight-forward Brighten The Corners was immediate and welcoming. We we're instantly blown away by "Stereo" and "Shady Lane," and both tracks remain a favorite in the Clicky Clicky household. But most of all we recall sitting on that bunk and listening to "Fin" wash over us with wave after wave, guitar solo after guitar solo, those haunted backing vocals riding low in the mix, and everything receding into that long, inevitable march to the fadeout. It sounded like the end of everything. In a very good way.

Matador Records reissues Brighten The Corners in an expanded, remastered, double-disc edition Dec. 9. The second disc may be our favorite of all the second discs of the Matador Pavement reissues. Miraculously, the label is running a promotion right now whereby you can purchase all four expanded Pavement reissues for $50. This is an absurdly good deal. Here is the link. If, like us, you already had the previous reissues, you can purchase just the Brighten The Corners: Nicene Creedence Edition from Matador right here. Earlier this fall Matador made available its Intended Play Fall 2008 sampler of free MP3s, which included the very fun Brighten The Corners outtake "Cataracts," which we're posting below.

November 21, 2008

>> This is our 1,000th post. Yeah. It would have been nice to have had some big retrospective with shiny pictures and stuff that goes ping to mark the occasion, but then again, that's not our style.

>> So we were minding our own business Saturday at a social event when we happened upon two former members of Boston chimp-gaze superstars Swirlies goofing around in a basement practice space. After convincing said players that in fact the band had had fans, and that we were one of them, we turned to the charming young fellow at our elbow and asked if he knew any of Swirlies' records, to which he replied in the negative. We thought about this later and realized that there is something about being a certain age at a certain time that insulates you from a lot of good music that was created previously. So while almost any music fan can list off certain of the tracks from AC/DC's Back In Black, for example, few could tell you that Swirlies' Blonder Tongue Audio Baton featured a number of amazing tracks, including "Pancake," "Bell" and "His Life Of Academic Freedom." And that's just that one album. So, in the interest of public service to the lower-cased youth of today, we are posting "Pancake" (the original version) and "Bell" below. A funny thing about Swirlies is we were going to draw a parallel between the band and Philadelphia's Lilys concerning how both bands have had scads of members over the years, and when we went to Swirlies' Internet Home Page and scrutinized its bio we learned that the two bands actually have a one former member in common (that would be Mike Walker). While we were at Swirlies Web HQ we were surprised to see that the current iteration of the band will be playing three East Coast dates at the end of February, including a Feb. 28 gig at The Middle East. In other news, apparently a tribute comp is in the offing, which features -- among other things -- a version of the track "Pony" by indie pop luminaries Surefire Broadcast. More info about the comp, which was slated for release this month free via Archive.org, is here.

>> We admit we can't name a Moving Targets song off the top of our heads, but we've heard the Boston post-punk band's praises sung by many since moving to Cambridge in 1999 including the chaps from Mission Of Burma. As reported elsewhere, Moving Targets bassist (and short-time Lemonheads drummer) Pat Leonard passed away last month, and there is a show in his honor this Sunday at All Asia in Cambridge. Bands confirmed for the evening include Varsity Drag, The Wynotts (ex-Jerry's Kids), American Pulverizer (featuring Marky Mussel and Kenny Chambers of Moving Targets) and many others. The night kicks off early -- 6PM early -- and there is a block of time left open midway through the bill for a special guest appearance. We can only speculate who that might be, although certain bands whose names begin with Mission or Bullet would make for a very exciting surprise. WMBR DJ Joanie Lindstrom -- who is famous to us for once having interviewed Uniform Choice -- will be holding things together between sets. You can inspect the full lineup for the show right here.

>> Earlier this month ExitFare hipped us to Seaham, England-based duo The Small Screen Light Show and its brilliant track "I'm Too In Love." It's catchy as hell, and there is a moment in the chorus that is just like a moment -- a certain defeated vocal phrasing -- in sorely missed Small Factory's cataclysmically awesome "Expiration Date." Anyway, head over to E-Fare here and download it, or stream it at the two-year-old band's MySpace cabin right here. Of course, being small-minded, we are curious whether the duo of Mattie Vant and Becca Young (which is augmented live by drummer Craig Stamp) are romantically linked; they seem too young to be divorced a la Jack and Meg White. But we digress. According to a MySpace bulletin The Small Screen Light Show spent some of the past week in Doncaster recording new tracks with Justin Lockey, who in addition to being a guitarist for bands including the erstwhile Mycodenameis:Milo and British Expeditionary Force has also produced recordings including My Psychoanalyst's stirring "We Disagree" b/w "Panaphobia" single and tracks by Late Of The Pier, Hot Club De Paris and Bloc Party. Anyway, back to one of the first points we made, if you aren't familiar with Small Factory, they were superb, and Old Fart At Play just reposted its overview of the band, so have at it here.

November 18, 2008

We have to listen very hard now to David Bazan as he sings this spare heartbreaker to hear in his voice the overtones of Lou Barlow that caused us to believe that "Bad Diary Days" was a Sebadoh track when we first heard it. This happened as we were cruising northward through the broadcast range of The University of North Carolina's WXYC in the late summer of 1998, and we were transfixed by the voice. "Bad Diary Days" lays bare the narrator's simple but devastating memory of discovering his lover's infidelity. We also have to listen very hard to notice where those extra two beats cap each progression, because the flow now seems so natural. It's a testament to Mr. Bazan's vivid, direct songwriting that "Bad Diary Days" is so sad sometimes you just don't want to listen to it. Even so, the track, from the flawless Pedro The Lion full-length debut It's Hard To Find A Friend (originally released on Made In Mexico, which folded at the tail-end of the 20th century, then reissued on Jade Tree in 2001), is No. 181 on the list of our 200 most-listened-to tracks, also known as the Clicky Clicky 200.

It wasn't until returning to our brick-oven walk-up in South Phildelphia that summer in 1998 that we had an opportunity to figure out who was behind this entrancing song. The track was being spun on Drexel's WKDU and we got the DJ on the horn, who imparted that the band was called Pedro The Lion (at first we thought he said Pager The Lion, which confused the hell out of us, so we asked him to repeat it, which he did with Albertsonian intonation). Of course Mr. Bazan took his band to greater heights over the ensuing eight years until the Pedro The Lion moniker was formally retired in 2006. Bazan continues to record and tour, and his first record as David Bazan's Black Cloud (which is almost as awesome a band name as J Mascis + The Fog, but not quite) will be released on Barsuk in early 2009. More details about the record and its contents are posted at the Wikipedia page for Bazan here. Read all Clicky Clicky 200 posts right here.

November 17, 2008

>> Tomorrow Edmonton-based indie quintet Faunts issue a digital-only set of remixes, the more ethereal of which (Mark Templeton's gauzy remix of "Places I've Found" in particular) were the perfect soundtrack for Sunday morning coffee. The obviously titled Faunts Remixed contains 14 tracks pulled from the band's first two records, High Expectations/Low Results and the M4 EP. Remixers include Cadence Weapon, a fellow from the jarringly named Shout Out Out Out Out and Faunts themselves. Friendly Fire is offering two MP3s to tease the release, and we're posting them below. The act intends to issue a new full-length collection, Feel. Love. Thinking. Of., in February 2009. The original version of "Memories Of Places We've Never Been" was issued on the aforementioned High Expectations/Low Results, and also previously appeared on the Friendly Fire Recordings Sampler 2007.

>> We previously discussed Orange County, Calif.-based indie rock sextet Primitive Paintershere in early 2005 (we regret saying its music was "a bit wimpy" -- if we had a do-over we'd say something like "heart-on-sleeve"). Now that there is news of a new full-length from the act, let's review: Primitive Painters recorded a really great demo called Dirtclods in the early '90s that sounded like the atmospheric British guitar rock of the day injected with a bit of SoCal punk energy. The band caught the ear of UK label GT's, and rerecorded the stuff from the demo, added some more stuff, and released a debut that was also called Dirtclods. This led to some confusion for us when we upgraded from our cassette dub to CD a couple years ago. We were puzzled upon receiving the CD that the songs sounded different, and it turns out our cassette was the demo, which we learned a couple years back when we pinged singer Dennis Crupi. Primitive Painters broke up in 1997, but Mr. Crupi and founding bassist (and now guitarist) Patrick Homa reconstituted the act in 2002 with a clutch of new players. Around the same time the band was named one of the 129 greatest bands from Orange County and released the short set EP33. Its new collection, Say It 'Til You Mean It, was self-released earlier this month, and while we have only heard what's posted at Primitive Painters' MySpace hacienda, we feel pretty comfortable saying its best stuff is even better than the best old tunes. Where the Dirtclods demos were fairly spare, the production on Say It 'Til You Mean It is lush, in places particularly imaginative, and there are tons of big guitars and bigger melodies. The updated Primitive Painters sound is reminiscent of "Regret"-era New Order, although obviously without Peter Hook's trademark bass noodling. Anthems like "Harm" and the New Order-referencing "Throw Your Heart To The Wind" establish a new beachhead for Primitive Painters. The sextet celebrate the release of Say It 'Til You Mean It with a show Dec. 6 in Fullerton, Calif.

>> You owe it to yourself to click this link and witness the COMPLETE. ROCK. MAYEM. perpretrated by Irish spazz-core trio Adebisi Shank in glorious full-screen video. How much speed are these guys on? How does guitarist Lar get those crazy sounds out of his arsenal of pedals? Why didn't several of the audience members' heads just explode like so many M80'd melons? We simply can't process this. This 16-minute set captured Oct. 17 at The Fighting Cocks in Kingston, England is the most bonkers thing we've seen in we don't know how long. So many questions. Why is the bass player Vinny wearing a full head veil? Did the BeatCastTV editors add some sort of strobe effect to the footage and speed it up, or is this band just going off like crazy? Spectacular, and a little more ear-friendly than fellow English grind merchants Rolo Tomassi, whom we've been meaning to mention in these electronic pages lately.

November 13, 2008

>> [Photo Credit: Pettri Lamula] That large, booming rock noise you hear coming from Norway is very likely Simon Says No!. The young, Oslo-based four piece has taken the whirlpool swirl of Sweden's fellow countrypersons Sereena Maneesh (remember them?), layered on a bit more pop gloss and added more depth with clever production. Formed in early 2006 when British-born [sorry, we were supplied erroneous information -- Ed.] guitarist Simon Oakland and guitarist and singer Ruben Nesse split from the hardcore act Jeroan Drive, Simon Says No! shuffled through a couple different rhythm sections before the current lineup gelled. Along the way the fledgling band released a couple tracks on cassette ("Midnight Romance," "Para Cirkus!") that caught the ear of radio programmers at a popular Norwegian radio station, which apparently sparked a great deal of local interest in the group. More recently the quartet set about recording an EP, and the results are four arresting, guitar-drenched anthems that can be heard at Simon Says No!'s MySpace tent right here. "Shiver" shakes with a stuttering syncopation and a melodic curtain of single guitar notes that ping pong quickly across the aural plane. Layers of tremeloed-out guitar join the mix mid-way through and eventually mellow out the tension with a false ending -- and then the beat is back. "Ahoi De Angst," the title track to the EP that will be issued in Norway in January (domestic plans are being kept close to the vest), gives a firm nod in the direction of Simon Says No!'s hardcore roots. It is the melodic fist-pumper "Sleeping Heart," however, that has "radio hit" written all over it, and thanks to the band's management we're able to offer the track to you below.

>> Resurgent indie label Slumberland appears to have another winner on its hands in the form of a forthcoming single from Sexy Kids. "The sexy who, now?" you are probably wondering. Well, Sexy Kids was born out of the planned obselescence of The Royal We, a Glaswegian septet we mentioned here in May for doing two notable things. The first notable thing was releasing the deliriously fun single "All The Rage," whose video you can watch right here, in September 2007. The second notable thing The Royal We did was vow to break up as soon as it recorded and released a full-length, which it did. Following the dissolution of The Royal We three members moved along to form the aforementioned Sexy Kids, whose debut single "Sisters Are Forever" will be issued by the aforementioned Slumberland this very month. It could be out now, for all you know. Because Slumberland is cool, you can download an MP3 of the single already, and we've posted it below. Additional information about Sexy Kids is hard to come by, but based on some photos at the band's MySpace yert we harbor a suspicion that its membership may be greater than the three Royal We expatriots. We suppose when the band blows up more information will be forthcoming. For now, just dig on this delicious track.

>> There's been emails and subsequent blog posts circulating the Interhooziewhatsis in recent days concerning an act called The Dark Romantics. This band may or may not be good -- we have yet to check. But we admit experiencing some disappointment upon realizing that the band in question wasn't the one we thought it to be at first, namely Dunedin, New Zealand's The Dark Beaks. We first wrote about the trio here in March 2006, and we still consider the trio's track "Dream About You" a nice piece of work. Here it is once again.

November 12, 2008

>> You know what totally smokes? The forthcoming Futureheads single "I Wouldn't Be Like This If You Were Here." The high-octane slammer hearkens back to the Sunderland-situated quartet's amazing 2004 full-length debut. The single will be issued Dec. 8, but you can already hear a crappy-sounding stream of the track at the band's MySpace dojo here. The Futureheads embark on a three-week tour of the U.K. and Ireland with clicky clicky faves Johnny Foreigner at the end of the month. We weren't all that certain of the pairing, but now that we've streamed "I Wouldn't Be Like This If You Were Here" a few times and hear The Futureheads are back with their A game it is starting to make sense. Full tour dates are listed at the aforementioned MySpace page. The Futureheads released its third set This Is Not The World on its own Nul Recordings label in May; we reviewed the band's July 2006 Boston gig here. We just remembered something Johnny Foreigner and The Futureheads have in common: both acts have been remixed by Dolby Anol. Here's the remix of "Radio Heart."

>> London-based indie rock foursome Fields Tuesday cited label negotiations as the precipitating factor behind the cancellation of a planned strand of November tour dates. The cancellation isn't quite as interesting as the fact that Fields, which was apparently the subject of a bidding war in the U.K. in 2006 after playing only a small number of shows, is -- according to a MySpace blog from fronter Nick Peill -- "in talks with a new record label." The band's full-length debut Everything Last Winter was issued by Warners in the UK; in our opinion it did not live up to the promise of the mysterious, stellar preceding EP 7 From The Village. As we reported here in October, Fields had intended to issue its sophomore set Hollow Mountains in March 2009 (after previously hoping it could be out by the end of this year). However, the aforementioned label negotiations could push back the release of the long-anticipated set. Strangely, a second MySpace blog posted Tuesday made it sound as if a new label deal was already in place, and that it was the new label's decision to scotch the dates. "We have been trying to get the label to organise some shows for us for months now and the decision to pull this tour was not that of the band." Drama!

>> News circulated Tuesday that Asobi Seksu's forthcoming third full-length us titled Hush. We had reported here in September that the New York-based dream pop duo would issue the new set in early 2009, and Asobi Seksu now says the release will be in March, which we expect is timed perfectly with the annual South By Southwest confab. As we had also reported previously, Hush will be preceded by the single "Me & Mary" b/w "Breathe Into Glass" Nov. 18. For you vinyl-ophiles, the band's supremely great sophomore set Citrus will finally be issued on vinyl Nov. 25 by Friendly Fire. More details and the Hush track listing can be found in this Pitchfork item.

>> Pun Canoes here points to this recent post on The Lemonheads' blog, in which band leader Evan Dando explains the delay of the planned covers album Varshons, which was to have streeted in September. The set will apparently now be released in March, Mr. Dando says.

November 10, 2008

>> We've started considering what our year-end lists will look like, and one of the more difficult decisions is going to be where in the top five to place A Weather's Cove. We think the set is flawless, but the question that we'll grapple with over the next several weeks is whether the inspiration we derived from it exceeds that of other releases (the identities of which devoted readers can likely posit). We received A Weather's amazing debut late last year, reviewed it here in February, and it was officially released in March on Conor Oberst's Team Love imprint. It is a quiet, intimate and boundlessly sweet stunner. And yet the band has, likely unintentionally, remained somewhat enigmatic because of a very, very low profile. Sure, Pantsfork reviewed the record. But while A Weather toured the west in September, the Portland, Ore.-based quartet/sometimes quintet has never made it to the east coast in support of the record. At least as far as we know, and despite two band members being from New England and a third from Baltimore. But we continue to hope that we'll catch A Weather performing someday. Embedded above is the cute video for the album closer "It's Good To Know," which features prominent contributions from some stuffed animals, which puts the band on twee-ness par with London-based Psapp. Check back next month to see where Cove ends up on our list of the Best Records Of 2008.

>> [UPDATED] Philadelphia-based quintet Like A Fox, the latest vehicle de indie rock of long-time scenemaker Jay Laughlin, issued its sophomore full-length Where's My Golden Arm? last week. The music's kaleidoscopic mash of influences conveys an affinity for David Bowie and T. Rex filtered through modern indie pastiche proponents like Grandaddy and The Elevator Drops. That band leader Mr. Laughlin's singing voice is a dead ringer for that of Grandaddy's Jason Lytle reinforces that comparison song after song on Where's My Golden Arm?, particularly the tracks "On The Way" and the triumphant anthem "Been Sitting Here." Philly indie fans will recall that Laughlin previously fronted New Jersey's Lenola, a band that became dramatically more interesting to us after we learned that Laughlin previously played guitar in one of our favorite hardcore bands, Turning Point. Over the course of nine years Lenola released three full-lengths and scads of EPs and singles, although the final long-player -- a double album -- was only released in Europe and Japan, according to this Wikipedia entry. At any rate, Like A Fox takes Lenola's skewed pop tendencies and layers in light electronic tones and beats, more often than not over a bed of acoustic guitar. Transit Of Venus issued Where's My Golden Arm? Oct. 28, and the label has been cool enough to let us give away a copy of the record. The first person to email us (address is in the sidebar) a message with the words "Golden Arm" in the subject line will receive the CD in the mail from us in short order. In the meantime, here's an MP3 to whet your appetite, again courtesy of the fine folks at Transit Of Venus. [Congratulations to reader Jeff for winning a copy of Where's My Golden Arm?]